A Frequency-Domain Approach to Watermarking 3D Shapes by Ohbuchi, Mukaiyama, Takahashi

By Ohbuchi, Mukaiyama, Takahashi

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It gives the animator an opportunity to create an illusion of pace and energy which is much more difficult to achieve with live action. The important point to remember about timing fast action is that the faster the movement is, the more important it is to make sure the audience can follow what is happening. The action must not be so fast that the audience cannot read it and understand the meaning of it. With fast action anticipation is very important indeed. The character prepares for the action he is about to do so that the audience is ready for the quick movement when it comes, and so can follow it even though it may be very rapid.

B). FIGURE 21 A An object moving from one point to another accelerates from rest to a maximum speed and then decelerates to a stop. B The projection of the positions of a point moving round a circle on to a straight line gives the positions of a point moving up and down the line, with simple harmonic motion. 42 In animation it is sometimes difficult to graduate the space between drawings in this way and so usually an approximation is made by halving, rehalving and halving again the distance to be traveled, according to the time available.

The limits of budget and time constraints on producing hours of programming necessitate a rethinking of your creative strategies. So to keep the limited-animated projects lively, the plots are usually carried along by means of dialog. Emphasis on dialog and sound over physical actions can save money. If the design of your show is more graphic and simple, the audience is more tolerant of the simplicity of its movement, rather than a very realistic design that does not seem to move enough. Slugging Slugging In the production of a television series, keeping the shows at the required running length is vital to staying on budget and avoiding costly production overruns.

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